Allen Tate Poet Biography Assignment

John Orley Allen Tate (November 19, 1899 – February 9, 1979), known professionally as Allen Tate, was an American poet, essayist, social commentator, and Poet Laureate from 1943 to 1944.

Life[edit]

Early years[edit]

Tate was born near Winchester, Kentucky, to John Orley Tate, a businessman, and Eleanor Parke Custis Varnell. In 1916 and 1917 Tate studied the violin at the Cincinnati Conservatory of Music.

Vanderbilt University, Rhodes College, Kenyon College and The Fugitives[edit]

He began attending Vanderbilt University in 1918, where he met fellow poet Robert Penn Warren. Warren and Tate were invited to join an informal literary group of young Southern poets under the leadership of John Crowe Ransom; the group were known as the Fugitives. Tate contributed to the group's magazine The Fugitive. The aim of the group, according to the critic J. A. Bryant, was "to demonstrate that a group of southerners could produce important work in the medium [of poetry], devoid of sentimentality and carefully crafted," and they wrote in the formalist tradition that valued the skillful use of meter and rhyme.[1]

When Robert Penn Warren left Rhodes College to accept a position at Louisiana State University, he recommended Tate to replace him. Tate accepted the position, and spent 1934-36 as Lecturer in English at Rhodes.

Tate also joined Ransom to teach at Kenyon College in Gambier, Ohio. Some of his notable students there included the poets Robert Lowell and Randall Jarrell. Lowell's early poetry was particularly influenced by Tate's formalist brand of Modernism.

1920s[edit]

In 1924, Tate moved to New York City where he met poet Hart Crane, with whom he had been exchanging correspondence for some time. Over a four-year period, he worked freelance for The Nation, contributed to the Hound & Horn, Poetry magazine, and others. To make ends meet, he worked as a janitor. (Some years later, he would also contribute articles to the conservative National Review.)[citation needed]

During a summer visit with the poet Robert Penn Warren in Kentucky, he began a relationship with writer Caroline Gordon. The two lived together in Greenwich Village, but moved to "Robber Rocks", a house in Patterson, New York, with friends Slater Brown and his wife Sue, Hart Crane, and Malcolm Cowley.

Tate married Gordon in New York in May 1925. Their daughter Nancy was born in September. In 1928, along with others New York City friends, he went to Europe. In London, he visited with T. S. Eliot, whose poetry and criticism he greatly admired, and he also visited Paris.

In 1928, Tate published his first book of poetry, Mr. Pope and Other Poems, which contained his most famous poem, "Ode to the Confederate Dead" (not to be confused with "Ode to the Confederate Dead at Magnolia Cemetery" by the Civil War poet Henry Timrod). That same year, Tate also published a biographyStonewall Jackson: The Good Soldier.

Just before leaving for Europe in 1928, Tate described himself to John Gould Fletcher as "an enforced atheist".[2] He later told Fletcher, "I am an atheist, but a religious one — which means that there is no organization for my religion." He regarded secular attempts to develop a system of thought for the modern world as misguided. "Only God," he insisted, "can give the affair a genuine purpose."[3] In his essay "The Fallacy of Humanism" (1929), he criticized the New Humanists for creating a value system without investing it with any identifiable source of authority. "Religion is the only technique for the validation of values," he wrote.[4] Although he was attracted to Roman Catholicism, he deferred converting. Louis D. Rubin, Jr. observes that Tate may have waited "because he realized that for him at this time it would be only a strategy, an intellectual act".[5]

In 1929, Tate published a second biography Jefferson Davis: His Rise and Fall.

1930s[edit]

After two years abroad, he returned to the United States, and in 1930 was back in Tennessee. Here he took up residence in an antebellum mansion with an 85-acre estate attached, that had been bought for him by one of his brothers, "who had made a lot of northern money out of coal." [6] He resumed his senior position with the Fugitives.

Along with fellow Fugitives, Warren and Ransom, as well as nine other Southern writers, Tate also joined the conservative political group known as the Southern Agrarians.[7] The group was made up of 12 members who published essays on their political philosophy in the book I'll Take My Stand published in 1930. Tate contributed the essay, "Remarks on the Southern Religion" to I'll Take My Stand. This book was followed in 1938 by Who Owns America?, the Southern Agrarians' response to The New Deal.

During this time, Tate also became the de facto associate editor of The American Review, which was published and edited by Seward Collins. Tate believed The American Review could popularize the work of the Southern Agrarians. He objected to Collins's open support of Benito Mussolini and Adolf Hitler, and condemned Fascism in an article in The New Republic in 1936. Much of Tate's major volumes of poetry were published in the 1930s, and the scholar David Havird describes this publication history in poetry as follows:

By 1937, when he published his first Selected Poems, Tate had written all of the shorter poems upon which his literary reputation came to rest. This collection--which brought together work from two recent volumes, Poems: 1928-1931 (1932) and the privately printed The Mediterranean and Other Poems (1936), as well as the early Mr. Pope--included "Mother and Son," "Last Days of Alice," "The Wolves," "The Mediterranean," "Aeneas at Washington," "Sonnets at Christmas," and the final version of "Ode to the Confederate Dead."[8]

In 1938 Tate published his only novel, The Fathers, which drew upon knowledge of his mother's ancestral home and family in Fairfax County, Virginia.

1940s[edit]

Tate and Gordon were divorced in 1945 and remarried in 1946. Though devoted to one another for life, they could not get along and later divorced again.

Tate was a poet-in-residence at Princeton University until 1942. He founded the Creative Writing program at Princeton, and mentored Richard Blackmur, John Berryman, and others. In 1942, Tate assisted novelist and friend Andrew Lytle in transforming The Sewanee Review, America's oldest literary quarterly, from a modest journal into one of the most prestigious in the nation. Tate and Lytle had attended Vanderbilt together prior to collaborating at The University of the South.

1950s[edit]

In 1950, Tate converted to Roman Catholicism.[9] He also married the poet Isabella Gardner in the early 1950s.

1960s[edit]

While teaching at the University of Minnesota in Minneapolis, he met Helen Heinz, a nun enrolled in one of his courses and began an affair with her.[citation needed] Tate divorced Gardner and married Heinz in 1966. They moved to Sewanee, Tennessee. In 1967, Tate became the father of twin sons. The youngest died at eleven months from an accident. A third son was born in 1969. Tate died in Nashville, Tennessee ten years later. His papers are collected at the Firestone Library at Princeton University.

Attitudes on race[edit]

Literary scholars have questioned the relationship between the cultural attitudes of Modernist poets on issue such as race and the writing produced by these poets. The decade of the 1930s saw Tate's most notable stances on matters that may or may not be connected to literary craft. For example, though Tate spoke well of the work of fellow Modernist poet Langston Hughes, in 1931, Tate pressured his colleague Thomas Mabry into canceling a reception for Hughes, comparing the idea of socializing with the black poet to meeting socially with his black cook.[10]

From the 1930s until as late as the 1960s, Tate held prejudices against both blacks and Jews. He expressed views against interracial marriage and miscegenation and refused to associate with Black writers (like the aforementioned Langston Hughes).[11][12] Up until the 1960s, Tate also believed in white supremacy.[13][14][15]

In 1933, Tate wrote a letter for Hound & Horn explaining his views on interracial sex. "The negro race is an inferior race....miscegenation due to a white woman and a negro man" threatened the white family. "Our purpose..is to keep the negro blood from passing into the white race."[16]

According to the critic Ian Hamilton, Tate and his co-agrarians had been more than ready at the time to overlook the anti-Semitism of the American Review in order to promote their 'spiritual' defence of the Deep South's traditions. In a 1934 review, "A View of the Whole South"[17] Tate reviews W. T. Couch's "Culture in The South: A Symposium by Thirty-one Authors" and defends racial hegemony: "I argue it this way: the white race seems determined to rule the Negro race in its midst; I belong to the white race; therefore I intend to support white rule. Lynching is a symptom of weak, inefficient rule; but you can't destroy lynching by fiat or social agitation; lynching will disappear when the white race is satisfied that its supremacy will not be questioned in social crises." [18][19]

According to the poetry editor of The New Criterion, David Yezzi, Tate held the conventional social views of a white Southerner in 1934: an "inherited racism, a Southern legacy rooted in place and time that Tate later renounced."[20] Tate was born of a Scotch-Irish lumber manager whose business failures required moving several times per year, Tate said of his upbringing ""we might as well have been living, and I been born, in a tavern at a crossroads."[21] However, his views on race were not passively incorporated; Thomas Underwood documents Tate's pursuit of racist ideology: "Tate also drew ideas from nineteenth-century proslavery theorists such as Thomas Roderick Dew, a professor at The College of William and Mary, and William Harper, of the University of South Carolina — "We must revive these men, he said."[22]

John Orley Allen Tate was born in Winchester, Kentucky, on November 19, 1899, the third son of Eleanor Varnell and John Orley Tate. His early education was somewhat sporadic, but in 1918 he entered Vanderbilt University, where he began to dedicate himself to literature in the company of such writers as John Crowe Ransom, Donald Davidson, and Robert Penn Warren, with whom he was active in the Fugitive and Agrarian movements. In 1924 Tate married Caroline Gordon. In 1959 he married Isabella Gardner, and, in 1966, Helen Heinz.

Best known as a poet, Tate is also the author of biographies of Stonewall Jackson and Jefferson Davis as well as of The Fathers, a complex, brilliant novel set against the background of the Civil War. His many critical essays have constituted a shaping force in modern literature. In addition, he served as consultant in poetry to the Library of Congress (1943-1944), edited The Sewanee Review (1944-1945), and taught at several universities, including Princeton, the University of North Carolina at Greensboro, and the University of Minnesota.

Tate’s earlier poetry, best represented by the famous “Ode to the Confederate Dead,” is classical in attitude as well as in execution. The ode is a profound meditation which transcends its nominal subject to treat the theme of the self’s struggles in a faithless era. Another major poem, “The Mediterranean,” parallels Tate’s interest in his own past with Aeneas’s search for a home after the fall of Troy. In later poetry, Tate softened the austerity of his classicism in poems which seek to integrate physical and imaginative vision; these efforts culminate in “The Maimed Man,” “The Swimmers,” and “The Buried Lake.”

As a critic, Tate has been identified with the New Critics, who argued for the autonomous nature of the literary work, the reading of which should not be influenced by knowledge external to the work itself. It should be noted, however, that his approach to literature did not employ the “scientific” method of such New Critics as I. A. Richards. In an almost Socratic fashion, Tate sought to unravel in detail the terms on which a literary work presents itself to a reader. Allen Tate’s essays and poems, each shedding light on the other, stand as major achievements in American literature.